V. Nekosov "Three Pines  on the Muron Road" (1975-76)

The Mstiora box is fundamentally different in that the miniature sits in a backgound (often) other than black. A sky may be blue; a field brown or green. The figures are less stylized and the subject matter more varied. In fact landscapes, of no significance other than their beauty, made be represented.

N.I. Baburin "Tales of Komajan" (1970)

Perhaps, the hardest to differentiate is the Kholui box, which has characterisic of both of the former. It is a freer tradition, which permits its representatives a wider range of application. Black backgrounds, more subtle colors, more realisic figures. But for the serious collector and connnessieur, the only way to know a true Kholui box is from the identification provided with the signature of the artist.

But it is the Fedoskino that captures the widest attention from the broadest audience with its realism, often photographic representations, and use of metallic and mother of pearl, along with traditional oil paints. Subject matter follows this open style, taking all matters for portrayal.

V. Antonov (b. 1936)  Peasant Girl and Admirer (1972)

Whatever the tradition, the buyer should expect to find the name of the artist, preferably fully printed out or as initials. The tradition, even when obvious to the viewer, should be identified. Properly only work from the village of Palekh should be marked as "Palekh." Other work in that tradition should be identified as "Syle of Palekh" (with the characteristic cyrillic " Ct (i.e. style) Palekh ." And this applies equally to "style of Mstiora,""Kholui" or "Fedoskino." Finally, year of creation should be indicated. While true Palekh boxes (vis a vis other "Style of Palekh" boxes) have the highest and a special value, work done by talented artists living in other places, have to be appreciated for their art, not the place of their creation. And, of course, this applies to all of the other forms, too.

In matters of Valuation, Price, and Selection one has to be guided first by the taste of the collector. In the presence of a well made work, price takes care of itself. But the buyers should ask: Do I like it? and Do I want it for myself? An answer in the affirmative should be followed by a series of observations. Is the painting fine and detailed? Is it precise in its strokes? Does it have "feeling." Is the shape of the box pleasing? Has the base of the box been lacquered enough to hide the markings from the machine pressing. Is the lacquer smooth, clear and unblemished? Is the decorative golden scroll work around the box precise and even? Is the stroke strong? Is the paint evenly applied? How does price compare, generally, with others on the market?

These are questions that should be addressed in every purchase. But in doing so, no box ought to be rejected for a lack of perfection. It value ought to be weighed and seem in the light of the human condition. It is the work of an individual or individuals (the fabricator of the box, the painter, the decorator and the finisher -- more often than not they are not the same individual). Signed by him or her, it should be valued as much by its imperfection as by its perfection and appreciated for its individuality.

Over time Hudson-Neva has collected and sold innumerable boxes of all kinds. Those that follow are generally available for purchase and are Russian in origin. Others may be found on our site in other places Click here to see the Ukrainian boxes The market for "genuine" Palekh, Mstiora, Kholui and Fedoskino is limited by their rarity and high prices. That being said most collectors are engaged in finding accomplished artists who work in "the style of . . ," rather than in bidding up the prices of the limited number of masters in the "mother" villages. The focus of a purchase and collection should be on the talent of the artist and the personality of the work.

Hudson-Neva recommends that you look at the following for collecting and gift giving. Live with them, learn from them, enjoy them.